Antwerp: Christopher Plantin, 1569 & 1566., 1569 & 1566.. Fair. - Octavo, bound in early buff paper covered boards backed with a natural vellum spine with raised bands and the titles penned in a calligraphic hand on the spine. The covers are heavily rubbed with wear and chips to the edges and corners. The darkened spine is cracked with a corresponding break to the text block preceding the title to the second book. 311 & [9] pages; and 270 & [7] pages respectively. The first book "Florum et Coronariarum..." is illustrated with 106 (of 109) woodcuts of flowers, mostly full-page, by Arnold Nicolai & Gerard Janssen van Kampen after drawings by Peter van der Borcht. Pages 310 & 311 are misnumbered "308" & "309", as published. The first book "Florum et Coronariarum..." lacks the original title page which has been replaced by an attractively calligraphed early home-made title page copied from the 1568 first edition, with a beautifully executed drawing of Plantin's pictorial device. The verso of the original title page, the "Summa Privilegiorum", is mounted with some loss on the front pastedown. The first 2 leaves following the title (pages 3 through 6) are damaged with considerable loss to the text despite an attempt at crude repairs. The corner of page 207/8 is torn with very slight loss. The bottom corner of page 165/6 is torn without loss of text or image. This first book lacks pages 31/32 including the woodcut "Cervicaria Maior" and also lacks pages 205/206, including the woodcuts "Tulipa" & "Tulipa minor".<p>The second book "Frumentorum, leguminum..." is illustrated with hist
… [Click Below for Full Description]

[London: Frans Hogenberg, c1569]. [London: Frans Hogenberg,, c1569].. Interior Court, from the South] Engraved print. The rare first state of Hogenberg's print of the Royal Exchange. In the sixteenth century, the power dynamics in Europe shifted. The dominant financial forces in the European market were no longer simply those with vast domestic and overseas territories, likes Spain. The rise of the mercantile classes, and the corresponding ideology that the pursuit of wealth could be both patriotic and devout, increased the importance of commerce in the construction of English nationhood, as Hogenberg's print shows.Frans Hogenberg, who collaborated with Georg Braun to create the Civitates Orbis Terrarum', emigrated to London in 1568 with his brother Remegius after the Duke of Alva became regent of the Spanish holdings in the Low Countries, and stayed until 1587. Two years before he arrived work had begun on the Exchange, the first commercial building in England, inspired by Sir Thomas Gresham's experience of the bourse in Antwerp. It was clearly significant enough to his contemporaries for Hogenberg to record the occasion: he also produced a print of the exterior. Gresham (1519-1579) was a banker and merchant, whose expertise in currency helped rebuild the pound under successive Tudor monarchs. The Exchange was designed both to provide a centre of commerce as England's financial power grew, and also to act as a source of income for Gresham, who rented out the shops in the building. The print shows the Exchange without the column crowned by a grasshopper added in the fin
… [Click Below for Full Description]

- ANDREAE TIRAQVELLI REGII IN CVRIA PARISIENSI, EX COMMENTARIS IN PICTONVM CONSVETVDINIS SECTIO. DE LEGIBVS CONNVBIALIBVS, ET IVRE MARITALI. Postremahaceditione, ab autore ipso digilentissime recognita, et locupletior facta. Cum Indicibus copiosissimis. LVGDVNI. APVD GVLIEL. ROVILLIUM. Cum privilegio regis. 1569. Junto com: DE NOBILITATE ET IVRI PRIMIGENORIVM. De 25x24 cm. Com [24], 552, [80] e [20], 732, [60]. Ecadernação da época inteira de pele com ferros a seco nas pastas e nervos na lombada. Titulo manuscrito na lombada muito desvanecido e no corte vertical das folhas. Exemplar com titulo manuscrito coevo e ex-libris recente no interior da pasta anterior. Nota manuscrita coeva na foha de guarda. 25x24 cm. [24], 552, [80] e [20], 732, [60] pags. Binding: Contemporary full calf dry tooled at boards. Manuscript title on spine and on vertical edge cut. The author was a legal humanist and french jurist specialized in customary law, based in Fontenay-le-Comte, Poitou, where he held the local legal offices of juge-châtelain and lieutenant. He was appointed a counsellor of the Parliament of Paris in 1531. The first work justifies the legal disabilities of women by appeal to jus gentium and divine law. It began as part of a commentary on the customs of Poitou, and grew through numerous editions. The second work addressed the topic of nobility as social status and recognition, picking up from Bartolus who wrote a work with the same title. Tiraqueau's theory followed that of Bartolus, on the political and legal origins of nobility, as opposed to kinship, and integrated it with th
… [Click Below for Full Description]

1569. Acquaforte e bulino, firmato in basso a sinistra PAUL' FARINAT F. Esempalre nel terzo stato finale. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in buono stato di conservazione. Etching and engraving, signed at bottom left PAUL' FARINAT F. Example in the third state of three. A good impresison, printed on contemporary laid paper, trimmed to the paltemark, in good condition. Mary Magdalene in the desert seated before a cross at the left holding a book with her left hand, right on her breast. The artist himself referred to this etching in his Diary. It had been considered as the iconographical model for a small painting in reverse, commissioned from the artist by Niccolo Troian in 1581, today in Narodní Galerie, Prague, inv. no. 814. According to Albricci 1980, the painting derives from a drawing, today lost, that was transformed into this etching at around the time of the painting's commission. Giorgio Marini argued that Farinati must have based his painting on a preparatory drawing rather than the print. The composition is close to Battista del Moro's painting of the same subject, included originally in the cicle of the Manuta cathedral, today in its sacristy. Bartsch XVI.164.2; Albricci 19.2; Marini in Verona 2006, no. 193. 138 189

Florence: Appresso i Giunti, 1569. First Edition. Hardcover. Old half vellum and marbled paper covered boards (c. 1800). Very good. 89 pages. blank, [8] (last leaf blank except for printer's ornament on verso), 89, [4]. Woodcut printer's device on title page, large woodcut historiated initials. Important early discourse on the cultivation and preparation of olives with the discussion of the natural history, the olive's role in food and rural economy, the various regional varieties grown in Italy, Greece and Algeria, and the culture of the harvest. Also included are methods of preserving and preparation for consumption of both the flesh and the oil of the fruit. Pietro Vettori (1499-1585) hailed from Florence where he worked as the major editor at Giunti Press both in Florence and Venice. Best known for his prodigious editing and translating of Greek and Latin. Crisp, clean copy. All edges red. [Attributes: First Edition]

Peter Horst, 1569. 8vo. (48) leaves. With the printer's device on the title-page. Boards, some very light browning, but a fine, nearly uncut copy.VERY RARE EDITION of Stymmelius' morality play on the university life. It became a great success right from its first appearance in 1549 and was reprinted twenty-one times until the end of the century (cf. G. Voss, Christoph Stummel: &ldquo,Studentes, comoedia de vita studiosorum', in: &ldquo,Jahresbericht über das Königliche Kaiser-Wilhelms-Gymnasium zu Aachen für das Schuljahr 1898/99&rdquo,, Aachen, 1899, p. 1-12). At the end of the volume is printed a long poem by Stymmelius Iudicium Paridis.In his comedy Stymmelius introduces three young students on the stage: the assiduous Philomates, and two of his idle fellows, Acolastus and Acrates, who are going to spent their time and money with girls and gambling. Though the plot is not really original and Stymmelius sporadically borrowed from Gulielmus Gnaphaeus' Acolastus (1526), nevertheless Stymmelius' comedy is very im-portant for giving a vivid and faithful picture of the students' life in a German university of the six-teenth century, and furthermore expressing the educational intention of its author (cf. K.G. Konrad, Die deutsche Studentenschaft in ihrem Verhältnis zu Bühne und Drama, Berlin, 1912, pp. 74-77, see also W.F. Michael, Das deutsche Drama der Reformationszeit, Bern, 1984, pp. 104-106, and C. Dietl, Neo-Latin Humanist and Protestant Drama in Germany, in: &ldquo,Neo-Latin Drama and Theatre in Early Modern Europe&rdquo,, J. Bloemendal H.B. Norland, eds., Leiden, 2013,
… [Click Below for Full Description]